Mr. Nightingale next takes the opportunity afforded him by this publication, of mentioning his "Portraiture of Methodism," in composing which he felt himself secure in the general accuracy of all his statements. He then wrote with freedom, as he knew he could not materially err; but in the present instance, he confesses, almost every page was committed to the press with fear, lest he should injure the cause he meant to defend by involuntary mistakes; a cause in which he declares he feels a deep interest, and which he describes in these words: "The Emancipation of Roman Catholicks, and the repeal of all those disgraceful penal statutes which aggrieve and oppress the Dissenters of this great and enlightened Empire." A Dote at the bottom of p. ix. informs his readers, that Mr. Nightingale is aware of the use professed enemies to Methodism have made of his Portrait of that faith; and that, had he supposed that some of the facts there detailed would have been so used, he should not have given them; and, finally, he must have hesitated whether to have written at ali, could he have imagined the sect alluded to would consider his Work an indirect attack on the Society. "With these concessions," continues Mr. Nightin gale, which I make in the most voluntary manner, I wish to be perfectly understood, that I have no fact to contradict, no statement of consequence to deny. Perfectly consonant with this acknowledgement is the following declaration: that, ever accustomed to express his sentiments openly and with freedom on religious and political subjects, regardless of inconveniences thus resulting, he has not hesitated to write in terms, on this occasion, which he supposes will not be pleasing to any party. he In mentioning the i athers, p. 25, says, if he appears to have spoken of them disrespectfully, it is not because he felt no regard for the opinions and reasonings of those venerable sages, the antient and primitive defenders of our common salvation, but that he is convinced an implicit reliance on their reasonings or deci sions is injurious to the cause of truth, and the real interests of religious enquiry; as he is exactly of opinion with Charles I. who, in Ceriamen Religiosum, p. 114, has described them as often contradicting one another, and even themselves. Our Author is not less aware that he may be censured for writing too freely of the Church Establishment, or rather of Church and State unions in general; but he begs it may be understood, that, so far from wishing to feel disrespect towards the National Church, he has a sincere regard for the learning and morals of many, nay, of a large majority of our Clergy.' 66 Part of this explanatory Preface is appropriated to assigning the Author's reasons for not dwelling on those prophecies in the Sacred Writings which are imagined to allude to the rise and extinction of Popery; and he states his firm persuasion, that "no clear and unequivocal proof can be made out, that either Daniel or St. John had an eye peculiarly directed against the Church of Rome, or even against the spiritual head of that church;" and he further points out the ingenuity with which the mystical number has been applied to the Pope, Martin Luther, Louis XVI. and Napoleon Buonaparte. We shall now bid adieu to the Preface, and observe of the body of the Work, that it certainly contains an interesting mass of materials, calculated to enlighten those who wish to be informed of the antient and present state of Catholicism, and of the tendency of the doctrines of that faith, as they may be supposed to affect society formed either of Catholicks or Protestants. Further than this we do not feel ourselves justified in proceeding, as it is by no means necessary we should do more than explain the Author's intentious, which would neither be forwarded or retarded by the expression of our opinion; resting, as we do, perfectly satis fied that the important question, hereafter to be decided by the Legislature, will be in the hands of the most enlightened men of the age, whose decision, we very earnestly hope, will be received with becoming respect, whichever party may predominate. 13. A New Spanish Grammar, designed for every Class of Learners, but especially for such as are their own Instructors. In two Parts: Part I, an easy Introduction to the Elements of the Spanish Language. Part II. The Rules of Etymology and Syntax fully exemplified with occasional Notes and Observations; and an Appendix, &c. &c. By L. J. A. M'Henry, a Native of Spain. 12mo. pp.393. Sherwood and Co. It has been a matter of frequent complaint, that there is no EnglishSpanish Grammar capable of affording the necessary assistance to those persons who are obliged to be their own instructors; for, although several of the Grammars in circulation possess great merit, yet most of them are written under the disadvantages which inevitably arise from an Author's attempting to explain in a language with which he is but very 1. "The Overture, Chorusses, Introduetory Symphonies, &c. in the Oratorio of Esther, composed by Handel, and arranged for the Pianoforte or Organ, by William Crotch, M. D. and P. M. Oxon. imperfectly acquainted. The present Work, therefore, is respectfully submitted to the candid notice of the publick, with the humble hope, that it will be found less exceptionable, in several particulars, than some of its predecessors; its Author being a native of Spain, in which country he had the advantage of a liberal education; and having, by a residence of several years in England, acquired a considerable knowledge of the pronunciation, genius, idiom, and general structure, of the English language." This Work is certainly well adapted to the purposes for which it is intended; the Author seems to have spared no pains in the compilation; and it is heatly printed. REVIEW OF NEW MUSICAL PUBLICATIONS. "The universal love and practice of Musick may cease to create wonder, when we think of the good effects it is capable of producing on the mind. Judiciously used, it can cheer the spirits, expand the soul with magnanimity, benevolence, and compassion, soothe its anguish, and elevate it to the sublimity of devotion." MOLLISON. nists find it their interest to perform, in compliance with the taste (such as it is) of their auditors and employers. It may prevent disappointment to some of our Readers if they are apprized, that these chorusses require long fingers, and fingers long exercised in musical difficulties. in Rees's Cyclopedia (art. Gassendi), it is asserted, that organists never, in full playing, give the third in a common chord with the left hand in the base; but, so far is that from being a rule, that the contrary appears in almost every one of these chorusses, as arranged by our Oxford Professor of Music. SAN Filippo Neri, who established the Congregation of the Priests of the Oratory in Rome in 1540, (according to Dr. Burney), was the first who employed Musick to attract company to church to hear his pious discourses, or orations; "whence sacred dramas, or mysteries and moralities,in Musick, were afterwards cailed Oratorios." Esther, composed by Handel in 1720, was the first Oratorio ever attempted in England *. The first page of the present Work contains the words of the chorusses; and the Musick occu pies 32 pages. We have only to remark, that one very useful feature of this excellent arrangement is, the absolute time of every movement being determined by the length of a pendulum to vibrate some certain note: This will prevent disputes among inferior performers, and an improper velocity of execution. The harmony is given as full as it can be played with good effect. Nothing, in our apprehension, is so unsuitable to the organ, particularly to the Church organ, as those rapid and meagre compositions, which many country orga He *Handel was born in 1684. came to England when about 26, where, in 1751, he became blind, and died in 1759. 2. S. Wesley and C. F. Horn's new and correct Edition of the Preludes and Fugues of John Sebastian Bach. Book 1, 2, 3, and 4. EVERY Book contains 12 preludes and 12 luguts. The first book exhibits the names of 152 Subscribers, of whom a large number are the principal Musician of this Country. We have not room to descant on the merits of these matchless compositions, nor is it necessary that we should; for their fame has been long established. The first part of Bach's Preludes and Fugues in every key, or Das wohllemperirte Clavier, was published in 1722. We have seen copies of this Work from France and Germany; but they were much inferior in correctness to the present edition, which the Editors have rendered stil more valuable by the introduction of five explanatory characters. These characters are employed to shew, 1. when the subject or theme is direct; 2. when inverted; 3. diminished; 4. diminished and inverted; and 5. when augmented. We are glad to observe these characters employed by other Musicians. From the advice given by the Editors to musical students, whose aim is to execute these difficult pieces, we extract the following, because it is such as learners should always follow who have any desire to excel. "Whoever determines upon executing the following pages with precision, must steadily resolve upon practising them at first in very slow time; for since there is not a single note among them that can be omitted, without a material injury to their effect, it is absolutely indispensable, thoroughly to understand the career of the whole modulation, which will not be possible, unless each bar (measure) be studied with that patient industry which shall secure the true position of every finger upon its designed key. This certainly is attainable by no other means whatever than practising at an exceedingly slow pace, until the fingers shall have (as it were mechanically) found their exact places on the Clavier, which by constant careful habit they surely will, with hardly a probability of any failure." These four books form a volume, which no organist should be without. Fugues, in the present times, are rarely heard, except on the organ, and too seldom on the organ. We cannot venture to recommend them to lady performers in general; for, although they are the admiration of every good harmonist, we have heard ladies call them "ugly old-fashioned stuff." their astonishment on being informed that Mr. Wesley, one of the first Organists of the present age, was the author of a piece so every way unworthy of his name. This Sonata reminds us of some early paintings, under which it was necessary to write, this is a tree, this is a horse, &c. There are very few imitative pieces of musick with which we are much delighted: perhaps some of the finest are in Haydn's Creation; and in that we have seen persons ready to laugh at the (merry) sudden leaps of " the flexible tiger." "The art of Musick is not essentially imitative of the objects of the sense of hearing. Though it can copy the sounds or determinate noises produced by certain objects, that repetition is little interesting, and is almost entirely foreign from it." BARTHEZ, 4. The Warsovian Polonoise, for the Pianoforte, &c. by Sam. Webbe, jun. THERE is very little to praise or blame in this little piece. The harmony is extremely simple, and the passages lie well for the hand, and are so easy, that we may safely recommend this Rondo, alla polacca, as a useful lesson to follow any of the common instruction-books. 5. A Collection of favourite Melodies, with appropriate Embellishments, adapted for the German Flute, by Chas. Saust. No. 1. THE pieces contained in this Number are, La mia crudel tiranna, a Venetian air; Hook's "Within a mile of Edinborough;" Belerma; Hope told a flattering Tale; Away with Melancholy; Gramachree; Romance de Richard; Thou art gone awa; German air; She rose and let me in; Sul margine d'un rio, &c. ; in all 14 melodies. Some of these are as pleasing as mere melody can be, and the ornamental passages as tasteful as we expected from the known abilities of this exquisite performer on the flute. To performers on his instrument, Mr. Saust's Work (to be continued) cannot fail to be agreeable. 6. Overture to the Ballet of DonQuichotte, ou Les Noces de Gamache, by F. Venua. Opera 10. . AN indifferently pretty piece of plagiarism. All its beauties are borrowed from Méhul's charming overture, La Chasse. We do not see cause to give it our recommendation. SELECT SELECT POETRY. LET RUSSIA'S TRIUMPH ROUSE THE WORLD TO ARMS! Addressed to the Nations groaning under By WILLIAM THOMAS FITZ-GERALD, Esq. found Nor food, nor shelter on the wasted ground! With all the strength of half-exhausted Ambition to enslave the human race, Made him o'erlook the prospect of disgrace; But soon he saw the end of Fortune's tide, The Elements against his crimes conspire, He sees his wretched legions hourly lost; SACK'S spear! And he who kept the trembling world in Can find no corner to conceal his head. From RUSSIAN WILDS a voice tremendous cries, [arise! EUROPE, AWAKE! and from your TRANCE Rise! with the strength of congregated [slaves! waves, Erect your heads! and be no longer Endure no more the odious Gallic chain, Rise in a mass! and be yourselves again! The great example follow that you see, Burst your vile bonds, and set your children free! And be this truth convey'd to future times, Nations are only conquer'd by their crimes! If true themselves, th' Invader must retire, Pursued, at last, by Famine! Sword! and Fire! [view! BRITANNIA points, and mark the glorious * Her spear to France, her olive-branch to you; [know, Fight but your battle, and she bids you Her virtuous Monarch is no more your foe. Nations,arise! and, in your vengeauce just, Reduce your vile OPPRESSOR into dust! Chase from the earth his base, detested race, And end the history of your own disgrace! Then shall the groaning World, from bondage free, Taste all the sweets of Peace and Liberty. Jan. 5. Mr. URBAN, THE communicator of the verses at p. 566, of your last Volume, said to be "from the eldest Almanack known,” would have gratified the curious by mentioning the date. Are they transcribed from the Shepherd's Kalendar, which is generally esteemed as the earliest printed work of that description in our language? The style and orthography I should conjecture to place them nearly as recent as the reign of King James.-There is lying before me "The Glasse of Vaineglorie: Trauslated out of S. Augustine by W. P. Doctor of the Lawes," 1600, which was probably first printed in 1592†, there being a table for those using the Almanack prefixed, to make it serve for twelve years; viz. 1592 to 1603. The author has placed at the top of each month, as embellishments, some spirited wood-cuts of incidental subjects, with a quatrain immediately following of agricultural instructions, and a couplet at the end fraught with advice for bodily health. The close imitation these verses bear to the style and manner of Tusser‡, whose rare and curious work has lately been restored to us with such an ample and elaborate commentary by Dr. Mavor, may render them sufficiently interesting to be worthy insertion. E. HOOD. The concluding ten lines are quoted from the Author's Address to THE LITERARY FUND for 1809. In 1593 it was printed for John Windet. Herbert's Typographical Antiquities, p. 1230. Cens. Literaria, Vol. X. p. 101. Durfey, in his poem of " Collin's Walk round London," 1690, mentions "Tusser, fam'd for rural wit;" adding, by way of note, that he was an antique author famous for writing a book of Husbandry, and was just as good a poet for a gar dener, as our late Taylor was for a water man," JANUARY To hoalsome bathes vse thee, MAY. Your doong carrie out to comfort your If thirst doe torment thee. Cut downe your hie medowes whiles wether * Can W. P. be the author of the following well-known lines which are given at the end of February "Thirtie days bath September, April, June, and November, February hath XXVIII alone, and all the rest thirty and one." Thrust sickle in some part of your hard ' corne, [worne. But first let the moneth be well nigh out For ill smelles may kill thee. Reape downe your rie, and shocke vp your Your summer fruites gather, the sweeter to And downe with such otes as God shall you send, Prouided this moneth drawe toward an end. Burning heate may annoy thee, Quaking cold may destroy thee. SEPTEMBER. Now reape vp your barlie, least that it be lost, [care and cost: Your beanes and your peason to quite Remembring alwaies the age of the moone, So shall you do nothing too late, or too soone. With raw frute to glut thee, To sowe wheat and rie a while take the rie, Now serueth the season to sowe wheate and Then tart receits make thee. Downe with your timber wood you that will To his worthy Friend, Mr. THOMAS HEYRICK, on his ingenious Poems. LONG hath the sacred, venerable, name Of Poet (once so highly rais'd by fame) Been, nor unjustly, trampled under feet; Their laurels blasted, and their flow'rs unsweet. The virgin springs and chaste Pierian groves [loves: Have been profan'd by base incestuous Castalian streams, so pure in former [rhymes: times, Were since polluted with unhallow'd When villains durst the Poet's task innvade, And shameful Vice, dress'd up in mas querade, |